Con-Dom stands for Control-Domination, and is the one-man industrial noise band of Mike Dando. Con-Dom explores any kind of social tensions and control: political, religious, racial, with an acid, violent and uncompromising attitude. He is well-known in the industrial scene for his furious ravaging vocals and the devastating live performances, in which he turns into a real stage animal.

11 years after making his debut on Malignant side label, Black Plague, the legendary Control returns home to roost, with another pulverizing display of power. 7 tracks, thematically centered around the 7 deadly sins (with each track clocking in at the 7 minute), originally released as lmtd CDr for the Elektroanschlag 11 festival. There is no atonement here, nor redemption offered. Just cold, jarring currents of massively built power electronics and horror filled death industrial, full of clamoring factory debris, razor sharp sheets of sonic violence, and grisly metallic grind, rounded out with Garrison's trademark vocal devastation. In 4 panel digipak, designed by John Balistreri of Slogun. Mandatory!

While it may only be one of many tentacles emerging from the vile meat-mass of Nicola Vinciguerra, Fecalove probably ranks as the most dangerous. While this Italian filth-monger has been tormenting our eyes over the past several years with his always repulsive and always interesting artwork under the TISBOR name as well as running the Italian division of the excellent Turgid Animal label, Vinciguerra has also been puking up a steady stream of cassette tapes and Cd-rs under the Fecalove name loaded with extreme harsh noise, sonic portraits of deviant sexual behavior and violence, and a vicious brand of power electronics that's been tearing my face off ever since I first heard the 'Like A Dog' disc on Bloodlust.
Combining the obvious classic PE influences (particularly the primitive PE slime of early Mauthausen Orchestra) with brutal junk-noise assaults, searing electronic drones, and sputtering hypnotic rhythms, Vinciguerra cranks up the bestial violence tenfold with a vocal attack that is sometimes more akin to the blood-gargling horror of a death metal vocalist than the typical distorted rant n' rave you usually hear in power electronics recordings. That ultra-vicious energy transmits all kinds of blasphemies and hate-filled screeds, each track usually materializing as a blunt blood-boiling excoriation of humanity at large, or a euphoric celebration of gruesome perversion. Either way, it's a blast. 'Void, Chaos & Cum' is the first release from Fecalove for Crucial Blast, an hour-long album of some of his heaviest, most violent material yet, with hideous junk-noise/flesh destruction rituals like "Professional Disease" and "Darwin II", assorted meditations on death and entropy, heavy-duty walls, putrid rhythmic electronics, and the grotesque Satanic throb of the title track.
The physical release of 'Void Chaos & Cum' is issued through the Crucial Blaze series of disc/zine sets, and comes in the series' signature clear dvd-style library case the package includes a 20-page art zine that contains an array of black-and-white and full color illustrations and photos from Vinciguerra/TISBOR, a set of three black and white mini-posters, and a 1" pinback badge. Released in a hand-numbered edition of 400 copies.

Two new Scandinavian acts. Händer Som Vårdar from Stockholm follows up the Bakåtböjning cassette released on Järtecknet in 2011 with a similar claustrophobic piece. With slowly moving loops and barely breathing electronics, Henrik Söderström here works with subtle nuances and shiftings. No obvious climax in sight and no easy ways out. Johan of Megan from Copenhagen had the audience's jaws dropped at the Posh Isolation showcase at Utmarken early 2011 with one of the best shows of the year. Chaotic electronics with intense vocal delivery. Constantly trembling on the edge, all over the place and with everything around falling apart. 33rpm. Mastered by Viktor Ottosson. Artwork by Dan Johansson

Quote from label: The highly anticipated debut cd from MORTUOR is now available.. This project doesnt feature a large back catalog of releases, but yet has gained a massive amount of respect and interest in from those in the community. MORTUOR was inspired by the works of ATRAX MORGUE. Listening to this full length, you will no doubtily hear it.. And feel it.. This album is cold, dark, and minimal.. Combine all of these into one, your have MORTUOR..

quote from label: Omaniescum Aorisum is a violent intention cloistered between four walls that’s mysteriously looming since 2012. This harshnoise assemblage tinted with inconspicuous maxims of power electronics was therefore very logically named ''Mademoiselle Hélène''. Corrosive, cavernous feedback..., death knell is given and resonates as a tribute to one of the masterpieces of French cinema, Le Boucher, directed by Claude Chabrol in 1970.
A caustic soundscape supported by a gymnopedic Erik Satie cover and a front artwork drawn by Nick Blinko of Rudimentary Peni.
Play it loud - on real speakers... if you want to judge with interest.

Finally long awaited album of Pain Nail is available. Recorded between 2006-2012. 40 minutes album consiting large variety of material from gloomy brooding heavy electronics to rusty and dark rhythmic metal percussion industrial and epic atmospheric tracks. Aggressive vocals and dirty analogue sound.

Long time sold out and very requested album, finally here comes the re-print.
The powerful side project by Peter Andersson aka "Raison D’Etre".
7 studio tracks & for the first time on digital format 3 live tracks recorded in 1998 during the Nursery Injection Festival in Stockholm.
The sound is getting more harsh & powerful than on the two previous cd releases.
56 minutes of great and uncompromising power-electronics.
Dark and painful sounds with few filtered voices coming from a cold hell.
All implosions treated by:
Peter Andersson and Tobias Larsson between 1997-1999

Quote from label: Appearing in the early 80's as an offshoot of the legendary UK power electronics band Whitehouse, Sutcliffe Jugend soon went to to become an equally confrontational and extreme purveyor of the early PE/industrial sound, producing some of the most abrasive and violent electronics albums ever with their early Come Organisation releases We Spit On Their Graves and Campaign . Since then, Sutcliffe Jugend has continued to pursue a unique sonic vision that combines transgressive subject matter and dark, cerebral musings on violence and sexual perversion with explorations into the use of brutal feedback and synthesizer damage. In the past decade, however, the band has delved into darker, more restrained (at least on a sonic level) sounds alongside their harsher work, and Blue Rabbit is the latest such offering, unfolding like a night-terror across the album's eight tracks. You won't find any of SJ's trademark power electronics sound here, nor the dark throbbing industrial of their recent album With Extreme Prejudice for Cold Spring Records this is a darker, more unsettling experience, heavy with an atmosphere of doom and smoldering violence, as if Sutcliffe Jugend sought to channel the creaking dread of Nurse With Wound's Salt Marie Celeste through a series if blood-freezing psychosexual nightmares.
The first song "Solace" begins with washes of black tidal drift and eerie creaking sounds, wheezing string-like drones, the scrape of bones against the rusted strings of a cello, brief flashes of piano, and strange low-frequency muttering, snatches of melody drift in and out of clarity, while a male voice murmurs just below the surface of this seasick soundscape. The vocals never break into the kind of high, manic screaming that you'd hear on previous SJ albums, instead appearing as a malevolent presence, a depraved narrator lurking in the dark corners of Blue Rabbit. The album creeps through ever more disturbing scenes, from the sparse electro-acoustic collage of percussive noises, asthmatic scraping strings and reedy feedback tones that make up "Seed", a collage of warbly electronic tones, the thump of an oil tank, evil whispers guiding the listener through these aural hallucinations, the track eventually resembling some nightmare free-improv session.
Then there is "The Bad Mannered Prophet", an almost orchestral dark ambient epic unlike anything that I have ever heard from Sutcliffe Jugend, magisterial and haunting, a stirring dark melody and sounds of distant chanting looping repeatedly beneath a creaking, crashing oceanic soundscape. And the rest of the album drifts further through these realms of bad-dream ambience, strange somnambulant improv and the sounds of organ, murmuring voices, mewling cries, jazzy bass frozen into a glacial drip, minimalist drones that waver and fade against the darkness, the slow scrape of the bow across strings processed into buzzing, wasp-like tones, clouds of billowing melodious keyboard, the songs at times resembling the din of a house of clocks gone haywire, finally culminating in the frenzied depravity of "The Death Of Pornography".
For fans of the band that are primarily familiar with their harsher output on Come Org and Cold Spring, this is a revelation a seething quasi-ambient nightmare that lingers with the listener, enhanced in it's creep factor by the unsettling paintings from Sutcliffe Jugend's Kevin Tomkins that make up the album art. Comes in a full-color digipack.

English transgressive art unit fronted by Kevin Tomkins (ex-Whitehouse). Started as a Power Electronics act in 1982, quickly gaining a name for itself, before branching out stylistically, creating a distinctive style that drew influence from all manner of genres while keeping true to their roots as a noise act.

Quote from label: "The last chapter of "Satanische Helden" trilogy (http://www.svart1.altervista.org/sh.htm) finally on CD! His sounds, nordic-style typically, are the result of a microcosm of dark and gloomy sound characterized by minimal movements between low evolutionary where used in a thunderous, metallic roar, shadowy presences that materialize sound, like the experience and the feeling of alienation between dark presence floating around the ears of the unconscious passenger. Professional CD in cardboard sleeve, limited to 250 copies only!"

Quote from Label: "Trepaneringsritualen’s long out of print debut release: Deathward, To The Womb will finally see a proper reissue on CD, and limited edition 12” vinyl. An invocation not so much of BABALON Herself, but of the tormented elemental of Frater T.O.P.A.N., and his fervent attempts to usher in the Æon of Horus.

Appended to the six original songs is a specially commissioned 12 minutes and 57 seconds long ritual work entitled "I Remember When I Was God" (included as download for the vinyl edition), and attributed to Teeraal Räum Pheynix. BABALON was summoned at Winter Solstice 2015 under the sign of Uruz, with assistance from Alone In The Hollow Garden, A.I.L oo Arktau Eos​, Michael Idehall​, KzR of Bölzer​, Nÿland ii of Hadewych​, and Æther​. To destroy and to give life. We declare this ritual concluded and successful.

Quote from label: "This product is a common work of Swedish and Lithuanian industrial music scene. Two well-known artists of industrial / ambient scene decided to collaborated and recorded into this vinyl three pieces each. On the A side one can find Sweden’s TREPANERINGSRITUALEN which composed impressive dark ambient / death industrial tracks. "Culled from the same sessions as Åkallan Mímir, Trepaneringsritualen’s side of this split features a prolonged death chant in three movements. Sombre, slow-moving and ritulistic in approach, this working fits in stylistically somewhere between the previously mentioned Åkallan: Mímir and Deathward, To The Womb. ”They are different from some other releases from this project’s mastermind Thomas, as here you won’t find any metal rock touch. On the B side – Lithuanian post-mortem act BODY CARGO, which, as it is usual to this project, plays dirty and brutal lo-fi about cannibal cults of Papua New Guinea."

Quote from label: "collection of old releases and difficult-to-find tracks from the Italian Power Electronics project that made quite a name for itself thanks to a full-frontal approach that mixes multiple-layered sound structures with aggressive vocals, intense use of samples and uniquely-structured concepts. “Tell me the truth” focuses mostly on the first decade of WERTHAM’s recordings, including sold-out tapes, 7”s, contribution to splits, rare tracks from compilations, excerpt from early works and one unreleased song, for approximately one hour of sheer violence, rough sounds and uncompromising attitude, remastered by Monsieur Yvan Battaglia (LCHM). Gender wars, leatherboys, STDs, general socio-biology, frustrations of the modern 9-5 man, Insubria white trash mentality, stereotypes, nutritional disorders, self deprecation, glorification of decaying icons of a withering world are the main themes expressed mostly with minimal slogans. CD comes in an illustrated black and white 6-tray digipack featuring extensive text and detailed information."